First of all, thank you so much to everyone who sent in a topic or question for the “Peoples Choice” episode. 2 weeks ago, I asked for suggestions from Facebook followers on what topics they were interested in, and you guys came through with some awesome things to chat about. I continue to be blown away every single week when I see the amount of people listening to this podcast or reading the blog. I can’t tell you how grateful I am that you’re here. No let’s get into some suggestions and listener questions:
“You should talk about venues that are smoking vs. venues that are non-smoking. And how to deal with the smoke as a non-smoker.” ~ Steven
Great topic Steven. I charge a surcharge to play smoking venues. Those venues may not know it, but my price goes up to compensate me for my gear and clothes smelling like cigarettes, which makes my truck smell like cigarettes, which makes my house smell like cigarettes. So, I need more to feel properly compensated for those gigs. If they aren’t willing to pay the higher price, I simply move on. Exposing myself to second hand smoke for 4 hours can’t be the same price as a Saturday afternoon winery gig in my mind.
As far as dealing with it as a non-smoker, I’ve actually discussed this at length with Derek Henry from the local band Observe the 93rd. We both are baffled, and even slightly impressed, by musicians that can smoke cigarettes or shoot whiskey and perform. He and I both have a very hard time being around second hand smoke or drinking anything other than beer during our sets. For me personally, my throat dries up and does not have the same flexibility or range when I’m exposed to smoke. It’s like I literally can’t drink enough water, and if it’s really bad my nose will run. That makes it miserable to perform. So, I’m very selective with the smoking venues I play. When a venue reaches out to book a show, I’ll only book one at a time for the places that allow smoking. That way there if it’s too bad, I just don’t go back. I did that 4 times last year. The best things I found to be able to cope with the smoke, and get through the gigs, was to drink only water, and take a 10 minute or so break every hour. I hope this helps, and thanks again for your topic suggestion!
“Doing covers exactly how they’re written vs. doing your own version” ~ Jason
Another great suggestion. Jason commented 3 topics, but 2 of them deserve a little more time than today’s show will allow. As far as this topic, if you’ve ever been to one of my shows, you know that I don’t play anything right. I change speeds, time signatures, keys, chord progressions, rhythms, and lyrics on pretty much everything I play. My friend, Kevin Nelson, gives me shit for it all the time. He has a lot of formal musical education and takes pride in playing everything exactly how it is written or performed, essentially mirroring the original artist. I understand why he does what he does, or other musicians like him do what they do. It’s because they have invested a ton of time and energy into being precisely able to learn and re-create exact notes and structures. They SHOULD feel some kind of way when someone just half-asses their way through Black Hole Sun or Wicked Game.
I, on the other hand, do not have the same time invested as they do. I do not have the same level of formal education either. I simply play things the way I feel them, not the way they’re written. Because I can’t really read music. I don’t feel like my interpretation of their songs would be offensive to the original artists. There are A LOT of songs I currently play that I’ve only ever heard once or twice. I don’t even know if I’m playing them correctly, but I’m playing it the way I feel it, and so far the audience has been feeling it too. I hear all the time about how people love my version more than the original. And please don’t take that as me being conceded. I have openly admitted that I feel like an imposter most of the time. This is just what people tell me. Also, If I only played songs the way they were originally written or performed, there would be songs I just simply could not do, that I currently do. And I like having a wild song catalog. When I play Regulators by Warren G and Nate Dogg, it’s really really fun. I simplify that song down to what FEELS right, which is 4 chords and some palm slaps. The crowd sings along and has a great time, and no one says “Hey, that’s not an acoustic song”.
So, while I see both sides of this debate, I’m in the camp of whatever is the best performance you can put on. Is it cool to nail every chord or note or that badass guitar solo? Absolutely. Is it also cool to get a crowd singing along to a 3 chord song with no intricate parts? Hell yes it is. For me personally, I’m not trying to be a tribute artist, I’m trying to be a great entertainer. If people want to hear the song exactly how it’s supposed to sound, they can listen to it in their car or go to see the original artist in concert. If they come see me, it may take them a little bit to realize what song I’m playing, but once they do they’ll have the chance to experience something as familiar as a favorite song for the first time again. And I don’t know about you, but when I first find new music I love, it’s like a gift from the universe itself. Something new and exciting in a life that is so regular and uneventful. I hope this helps you.
“Talk about finding a work/life balance as a solo musician” ~ Cynthia
Thanks for the suggestion Cynthia. Well, there are a lot of different factors that come into play when I think about this topic. Are you just starting out or are you a seasoned performer? What is your goal with performing? Are you looking to quit your day job or are you just doing it primarily for fun? All of these scenarios will have a different definition of work/life balance. So, I’m just going to speak about my journey as a musician, in hopes that it covers my thoughts on this topic well.
I started performing music with the goal of gigging as much as I could. It was an escape from a not awesome home and work life, and was sometimes just an excuse to be out of the house. At the time, I wasn’t really worried about work/life balance. I just wanted to do more work. And on top of that, I knew that the MORE people I could get in front of, the MORE potential supporters and social followers I could get. Having an active social following WILL get you gigs. So, when I started performing, I played any shows I could get and rarely turned anything down that was offered to me. By about 6 months in, I would work my day job Mon-Fri and then play Thur-Sat. I spent over a year getting home and going to bed around midnight on Friday, getting back up for work at 6, and then playing a gig after work. This can, and did, put a real strain on friendships and relationships. The flimsy ones broke, the strong ones cracked. But, I went from 50 to 1500 music followers in a year, and I was able to quit my job in a year and half. I fast tracked my progression by diving in head first, and learning from whatever outcome happened.
If you fast forward to now, I have a much better work life balance in my opinion. But, I actually work more than ever. I’m gigging 3-4 nights a week, podcasting and blogging twice a week, answering a steady influx of messages and comments from the music and podcast pages, practicing guitar every other day or so, doing all the music admin stuff like graphics and booking. I also started a landscaping business last year, where I will do your landscaping WHILE singing to you, for a fee. No, I’m just kidding, but if you really wanted that I could make that happen. If you add up all the time I spend doing the things I do right now, it’s pretty much a 40 hour work week, just spread out a little differently. So my job is not really that much different from anyone else. I realized a few years ago that most people in the workforce have jobs only for the money, with absolutely no fulfillment. My job fulfills me, it feeds my very essence as a being, and it pays my bills. My work and life are actually almost in unity, not really any kind of balancing act. My family really supports me, and I thoroughly enjoy spending any free time I can muster with friends. I’m grateful every single day.
I made it a point to change a few things though, things that I noticed were becoming issues with this minstrel type life I live. I actively make it a point to put my phone down when I’m with family. I know how precious those moments are, and I do my best to not do anything but be in the moment with them when I have the chance. I want the people I’m close to in my life know that the ONLY reason I’m not around is because I’m trying to change the world, to make an impact, not because I don’t love them or value their time. So the simple act of silencing my phone is a small change I could make to help “Be there” more often.
I also made the decision to ask for a higher standard rate, and primarily only book 3 gigs a week for 2024. And thankfully, the venues that I play at had no problem with the rate increase. By playing less gigs, I get more time to spend with my girlfriend and our puppies at home. Or with my daughter and grandson at her house, or going to visit my moms and friends. More time to go to the gym or go hiking. These are the things money can’t buy.
So Cynthia, in closing to your suggestion, I would say my goal of a work/life balance as a solo musician should is probably finding purpose in what I’m doing, being present as much as I can with my family and friends, and making sure to spend time doing the things I love to do outside of music. But I would say that translates well to ANY job really. Great topic and thank you again.
“Music vs. Entertainment and how much to put into each” ~ Ed
Ah, the ole Musicianship vs. Performer toss-up. Thanks for the topic Ed. I find there are people who are embraced by live music fans that never even glance at the crowd once, because they are such talented musicians. Then there are people who really entertain the crowd with their great energy and interaction, but are underperforming singers or players. If you’re strong in one area, it seems like you can usually afford deficiencies in the other. But, I’ve found that if you’re both a entertainer AND musician, you provide a better live music experience for the audience.
When people go see bands, they want a certain beat to dance to, or a song to jam out to. They want the group vibe; full of loud sound and groovy bass lines. As a solo musician, I feel like my live performances have benefited the most by dividing my invested time equally between both. When it comes to music, I try to practice every other day during the week. I usually focus on fretboard scales, theory, vocal technique, learning new songs, and original song, writing among other things. I try not to have a time limit, but more of an overall goal of each practice session. Sometimes that’s 10 minutes to learn a solo, or an hour writing original music. Either way, committing to spending time on the music side each week, coupled with 9 hours of playing on the weekends helps me make steady progress towards better musicianship.
The performance or entertainment side for a solo guy seems to be all about reading the room and connecting with the crowd. Talking to the audience, interacting with jokes, and playing some singalongs every once in a while goes a LONG way towards entertaining the crowd vs. just playing music. If the people wanted to hear the songs you choose, exactly as they were recorded by the original artist, without any interaction, they could just listen to the radio or a shuffled playlist. When you bring them into the performance by encouraging them to request songs and sing at the tops of their lungs, you’re providing a live music experience they will remember far after your gig, and keep them coming back for the next one. Thanks again for the suggestion Ed!
“What are venues actually paying for when they hire a musician?” ~ Tommy B
Tommy and I have discussed this a few times, but I’ll go on record with some of my thoughts on this. By knowing what you provide the venue at each performance, and not so much what a venue wants from you, you can price yourself to feel compensated for what you provide at every show. When venues reach out to me to book a gig, or vice versa, I consider the following items in my pricing:
Musicianship: A baseline of adequate guitar playing and vocals to entertain people and not drive out the venues built in audience.
Promotion: An immediate add to my online calendar and website when booked, which notifies my followers of a new date. A social media post the week of the show informing followers of the date. Something eye catching (i.e a witty post or picture) the day of the gig on the socials to drive in last minute attendees. I used to do elaborate graphics and Facebook events all the time, but I personally did not notice an increase in attendance equal to the time invested. I also haven’t noticed a decrease in attendance by not doing them. I keep it simple.
Professional sound: We covered this in Ep. 3 of this podcast “Foundations to Succeed”, but I bring professional sound. That DOES NOT mean expensive equipment. It simply means that I make it a point to try to sound as good as I can at every gig. That means I adjust my levels based on stage or room design, audience size, or gig type. I also carry 2 different sound systems to each gig, just in case I need to set up an auxiliary speaker in another area for volume control.
Entertainment: Crowd requests, jokes, and audience participation. If there is one thing that will get you booked at more gigs, and give you a higher income, it’s being an entertainer. Have fun and the audience will too.
Professional demeanor: I show up early and I’m set up at least 30 minutes before I start. I plug future shows at that venue throughout the night. I try to talk about my favorite beer there. I’m courteous to the staff and patrons. I dress appropriately for the venue. I hold myself accountable with providing a good evening for everyone who comes out.
These are the things that I think are perfectly normal for a booker to expect when they hire you to provide entertainment at their venue as a solo musician. The reason I can charge what I charge is because I provide all of these things, regardless of whether they ask for it or not. I don’t book venues that ask how many people I’m bringing, or expect me to pay for advertising or do anything else that I don’t feel is encompassed in what I provide. Great question Tommy, and I hope this sums up my views on this for you.
“Gear talk. Expensive vs. cheap and your current setup.” ~ Kevin
Thanks for the suggestion Kevin! Well, I’ve found that the price of music gear has only a marginal effect on its quality. It's really how well you can use the piece of equipment. My expensive guitars may have a slightly better sound than my cheap ones, but I’m the only one who hears it. For example, the only guitar that random people will constantly tell me sounds amazing is my $350 Breedlove. It’s laminate, it’s cheap, I’ve had it re-fretted twice, and the sound is booming. I’ve played $3,000 - $4,000 guitars at gigs for months at a time before without hearing once about how great they sound. With the Breedlove, I usually can’t go more than a show or two without a compliment. I know Kevin plays a $140 Harley Benton at his shows but owns an incredible assortment of fine guitars that stay at home.
I’ve found that you usually don’t want the cheapest option, but the most expensive one is just as ludacris. Cheaper speakers can sound just as good as expensive ones. I’ve heard Behringer’s sound just as good as EV’s and QSC’s, at a fraction of the price. Cheaper alternatives like Alto, Pyle, or Samson speakers can sound like absolute ass no matter what you put through them. When it comes to building your ideal equipment setup, it’s all about knowing what to look for ( build quality, specs, reviews) to get something that sounds and performs the way you want it to. Here’s my current equipment lineup:
My cables aren’t the cheapest, but they aren’t the most expensive either. I run pig hog cables because I can buy them locally and they have a great build quality for the price. My current guitar line-up for all shows includes a 2021 PRS Angelus A60E, a 1978 Takamine EF360S, and a Godin A6 Ultra Extreme Koa. I bring 3 guitars to every show in case there is an issue with any of them, so the show can go on. I also have them in different tunings. The Angelus is in half-step, the Takamine is in whole step, and the Godin is in standard. The Breedlove I mentioned earlier doesn’t make it to as many shows, but it is a 2018 Breedlove Discovery Concerto.
My main speaker for most gigs is a EV EVERSE 8. It has an 11 hour battery life and built in EQ, effects, compression, bluetooth, and a host of other things. The built in mixer means I plug directly into the speaker and mix using my phone for the interface. I usually set it up behind me or beside me so I can use it as both monitor and main. I find it’s easy to use and great for compact rooms. When I need a little more volume, I have a Bose L1 Compact that I run as an auxiliary speaker from the line out of the EV. These 2 combined put out a ton of clean and clear audio, and I have yet to find a stage or room I couldn’t play with the combo. The only thing I’d love to add soon is a subwoofer for live looping bass slaps and that low end guitar signal. It’s all about that bass, bout that bass.
On my pedalboard, I have a power strip, a TC Helicon VoiceLive Play Acoustic WITH the switch 6 expansion pedal, and a Tech 21 Acoustic Fly Rig pedal. The Play Acoustic pedal has a million features, but I primarily use it for vocal effects and harmonies. The switch 6 expansion gives me further control of the looper section of the Play Acoustic pedal by providing a dedicated “undo” button to delete any terrible loops I record. The Tech 21 acoustic fly rig pedal is a workhorse, and I primarily use it for tuning and equalizing my guitar, as well as the “boost” function for soloing or finger picking. It has compression, reverb, and delay built in for when I need those on the fly as well.
That is basically my entire setup. Sometimes I bring racks of lights, but they’re all no name Chinese brands and seem to work as intended. I do usually bring 2 par cans along to gigs for uplighting behind me, just adds to the professional appearance of the gig. I’ve used a million different configurations of pedals, speakers, mixers, rack mount equipment, guitars, cables, and other gear over the last 5 years. Whether it’s guitars or live sound gear, one thing that has proven itself over and over is that the more I know about the piece of gear and how to use it, the better it functions for me. You can have the most expensive guitars out there, but you won’t sound as good as the guy with the cheap one that knows how to play. Same goes with sound gear. Staying educated and informed on live sound production and continuing to expand your instrument playing skills will keep you from buying expensive gear you don’t need to accomplish your musical goals. Thanks again for the suggestion Kevin, and I appreciate all the gear advice you’ve given me through the years!
That’s going to wrap this week’s People’s Choice Episode. I can’t thank you enough for all the suggestions. If you ever have a topic you’d like me to discuss, you can send it to me at solomusicianpodcast@gmail.com for consideration. I really love the feedback I’ve been getting from the podcast when I’m out at shows, so thank you for listening and sharing this pod with your friends! I’ll see you on Thursday for Thursday Thoughts!!
